ARTWORK OF THE WEEK

Retired professor of photography from Utah State University, Craig Law has spent decades documenting Western landscapes, such as this one of Foster Reservoir, located near Preston, Idaho. The silvery hue of this black and white photograph matches the feeling of this scene; the barren trees, empty fields, and snow in the mountains suggest the transition from fall into winter. One can almost feel the chill in the air. · Learn more about this work

A pioneer in the development of color photography, Jeannette Klute tested and developed the dye transfer process at the Eastman Kodak research laboratories. Always drawn to the outdoors, Klute specialized in detailed imagery of nature, ranging from lush landscapes to intimate “portraits” of flowers, ferns, and trees. Her innovative approach to using color has made her a major player in the development of creative photography. These red leaves show a colorful fall scenes. · Learn more about this work

This autumnal scene of Emigration Canyon shows the beauty of the fall season in the state of Utah... · Learn more about this work

The painting depicts the southern Utah landscape along the Virgin River near Dixon’s home, where he spent much of his later years... · Learn more about this work

The monstrous, sashaying Death strikes a pose with a suggestion of a gentil pith helmet. Look again... · Learn more about this work

Mahonri M. Young (1877-1957), Cutting Corn, 1937, oil on canvas, 25 1/4 x 30 inches. Brigham Young University Museum of Art, purchase/gift of Mahonri M. Young Estate, 1959. · Learn more about this work

Mabel Pearl Frazer (1887-1982), Desert Grandeur, c.1940, oil on canvas, 36 ½ x 53 inches. Brigham Young University Museum of Art, 1984. · Learn more about this work

Rembrandt’s La Petite Tombe: · Learn more about this work

Christ’s invitation to “Come Ye After Me” (Mark 1:17) began on the shores the Sea of Galilei where he called his first disciples, Peter and Andrew. Christians around the world internalize the Savior’s injunction as portrayed in J. T. Harwood’s painting. Note that the fishermen’s upward gazes are not directed at Jesus, but pleading to heaven as they had secured nothing to show for their overnight efforts. Momentarily, they will respond positively to the Savior’s miraculous catch, and more importantly, his invitation to become followers of the Lord–fishers of men. · Learn more about this work

On September 30 we celebrate the birthday of Ella Peacock, an American artist born in 1905, sometimes referred to as the Matriarch of Utah Artists. Ella Peacock grew up on the East Coast but considered it too green compared to the desert scenes of Utah and Nevada, the landscapes most inspiring to her. Ultimately, she and her husband Bill settled in Spring City, Utah a city in Sanpete Valley Peacock never grew tired of. While this painting features her characteristic greys and muted tones, instead of a desert landscape, we see her daily tools as an artist. The Letter Press is surrounded by a small book or sheaf of paper, a stamp for printing, an ink roller, and a jar of brushes, indicating her interest in both painting and printmaking. · Learn more about this work

This week we welcome in the first day of fall! This autumn photograph features the glacial melt that makes up Yosemite National Park’s primary river. The trees, whose colors are changing, line the banks of the Merced River while their reflection sparkles in the calm water. Milton Goldstein began photographing in his 50s after his first trip to Yosemite, which mesmerized him. His works focus on the National Parks in the west. · Learn more about this work

This week we reverently acknowledge the twenty-first anniversary of the September 11 Attacks in New York, Virginia, and Pennsylvania. Though Reginald Marsh’s 1936 etching predates the construction of the original World Trade Centers, it is a reminder of New York City as a symbol of hope and progress. This bustling metropolis is a city to take pride in, a hallmark of individual and collective resilience even through adversity. The skyline depicted in this print, iconically presented from the Hudson River, features the originally-named Bank of Manhattan Trust Building (927’), City Bank-Farmers Trust Building (741’), and the Cities Service Building (952’), each noticeably shorter than the original Twin Towers (1368’ and 1362’), and about half as tall as today’s World Trade Center (1776’), the tallest building in the United States. · Learn more about this work

On September 7, we celebrate the birthday of Anna Mary Robertson Moses, affectionately known as Grandma Moses. Childhood memories and rural scenes are often the subject of Grandma Moses’ art, inspired by her upbringing on a farm in upstate New York. Though she disliked sewing and knitting, Grandma Moses enjoyed creating detailed needlework pictures like this, Path to the Village. She embroidered into her late-70s when arthritis in her hands prohibited her from continuing; at that point, she began to paint, which she did until a few months before she died at age 101. Grandma Moses’ art, nostalgic and charming, gained national attention during her lifetime. · Learn more about this work

August 26th marks the anniversary of the certification of the Nineteenth Amendment in 1920, an important step in allowing women’s participation in the democratic process, and is nationally recognized as Women’s Equality Day. This celebration emphasizes the importance of women within democracy and calls attention to continuing efforts toward full equality. · Learn more about this work

An innovative photographer, Nadar (1820-1910)–born Gaspard-Félix Tournachon–mastered the new technology of wet collodion plate and salt print processes to become one of the most sought-after portrait photographers of his time. Nadar captured likenesses of celebrities such as composers Claude Debussy and Franz Liszt, and writers Alexandre Dumas and George Sand. He also adapted his process to become the first aerial photographer, often working from his custom hot air balloon, Le Géant. · Learn more about this work

August 15th is regarded in the Catholic Church as The Feast of the Assumption, commemorating the day that Mary was received into heaven to be with her Son, an event known as the Assumption. Churchgoing Catholics traditionally attend mass on this Holy Day. Though officially celebrated since the eighth century, Assumption Day is not observed as extravagantly in Canada and America as in other countries but some churches still organize events with food, music, dancing, and fireworks in honor of the Virgin Mary’s ascent to heaven. · Learn more about this work

In honor of International Day of the World’s Indigenous People on August 9, the MOA features Kiowa Shield Dancers by artist Stephen Mopope (1898-1974), a celebrated Kiowa (Cáuigù) artist. Born Qued Koi, meaning Painted Robe, Mopope was a skilled painter, dancer, and flute player from Oklahoma. Born into a long lineage of artists, Mopope’s family facilitated his art training at a young age, after seeing him draw pictures in sand. · Learn more about this work

This Russian icon celebrates the authority of Peter and Paul, venerated as the two pivotal figures in leading Christ’s early Church. The saints carry the church in their hands and hold items symbolic of their roles and authority: Peter clasps the keys of church leadership, while Paul holds a book signifying his numerous epistles in the New Testament. The two martyred saints were frequently shown together in Orthodox imagery because of their shared influence on early Christianity. Worshippers would pray before icons like this, invoking the grace and authority of the righteous Paul and Peter in conveying their petitions to heaven. · Learn more about this work

While the New Testament mentions little about Mary, Joseph, and the young Jesus’ journey to Egypt, legends arose throughout the centuries enriching the narrative. The Rest on the Flight into Egypt became a popular visual motif envisioning the weary family receiving respite and sustenance during their long journey. Kaulbach’s depiction merges realist precision with a poetic sense of devotion. The family travels under the cover of night in the harsh desert. Mary holds the sleeping Christ child close to her breast, His radiant light illuminating her face and veil. Two children offer much-needed water to the wearied mother with evident awe and adoration. Joseph, their devoted mortal guardian, tenderly watches the interaction. The meticulous details convey a reality to the scene, reflective of both 19th-Century interest in Egyptian culture and peoples, as well as a nuanced psychological portrait of a weary mother caring for her infant son in a strange, desolate land. · Learn more about this work

Henry Ossawa Tanner (1859-1937), At the Gates (Flight into Egypt), c.1926-1927, oil on panel, 26 11/16 x 19 1/16 inches. Brigham Young University Museum of Art, purchased with funds provided by Stanford C. Stoddard, 2019. The exhibition Of Souls and Sacraments: Symbol and Context in Christian Art is currently on display. · Learn more about this work

Luca Giordano (1634-1705), El Prendimiento de Cristo (Christ’s Arrest), no date, oil on canvas, 22 x 31 inches. Brigham Young University Museum of Art, purchased with funds provided by Labor and Honor, the Andrea and James Clarke Family Foundation, 2022. Currently on display in the exhibition Of Souls and Sacraments: Symbol and Context in Christian Art. · Learn more about this work

As Rachel’s firstborn son, Joseph was beloved by Jacob, was beloved by Jacob, especially after Rachel’s early death. Jacob famously gifted Joseph a special tunic, which may have implied that Joseph would receive his father’s birthright blessing... · Learn more about this work

James Jacques Joseph Tissot (1836-1902), Charles Hoffbauer (1875-1957), ‘ · Learn more about this work

James Jacques Joseph Tissot (1836-1902), Issac Bears the Woods for His sacrifice, c. 1896-1901, gouache on board, 8 3/4 x 5 4/9 in, The Jewish Museum, New York. Image provided by the Jewish Museum, New York. Gift of the heirs of Jacob Schiff. This work has been temporarily loaned to the. Museum as part of the exhibition · Learn more about this work

Francesco Guardi (Italian, 1712-1793), View of the Grand Canal with the Dogana, c. 1780, oil on canvas, 22 1/2 x 32 1/4 inches. Columbia Museum of Art, Columbia, South Carolina; Gift of the Samuel H. Dress Foundation, This work has been temporarily loaned to the Museum as part of the exhibition · Learn more about this work